How can you tell when you’re famous? Annie Leibovitz will knock on your door and ask to do your portrait, that’s how. Since 1970 and her first Rolling Stone cover, Leibovitz has photographed hundreds of stars and celebrities in her instantly recognizable style.

Do you really need a zoom on your P/S? Certainly zooms sell: Given the choice between a nice compact dual focal length 35/70mm camera or a bigger, pricier 35-70mm zoom model, more consumers will probably go for the zoom. (Maybe it's the name: "Zoooooom!" is just sexier than "dual focal length," which sounds like something you had to memorize in trigonometry.

Power to the people picture! From the Mona Lisa to a rock 'n' roll wannabe, humans still make the greatest subjects.

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1st ($300) Space-age Mona: The world's most famous smile might have been painted 500 years ago, but in this mind- and linebending vision she looks very much like a 20th-century fox. Chen Hao of Atlanta, GA, took a double exposure with his Nikon FE and 50mm f/1.4 Nikkor lens; one shot is of a building reflected of f a chrome light post; the other is a copy of Leonardo's masterpiece, taken in the photographer's studio.

Rehabilitation Through Photography visualizes its past, present, and future

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Bob Lazaroff

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We would be hard-pressed to find a more sympatico, worthy organization that is dedicated to helping those less fortunate than Rehabilitation Through Photography (RTP). In cooperation with various agencies. clinics, hospitals, and schools in the New York City area, RTP helps people with physical and emotional handicaps, disadvantaged youths, the elderly, recovering substance abusers, and AIDS patients—all through photography.

Will RA-4 take over your color darkroom? Yes,because its processing rigs.

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peter Kolonia

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When Kodak introduced its RA-4 color print papers and processing chemicals about two years ago, professional darkrooms large and small hailed the event. Like RA-4’s predecessor—the process known as EP-2—the new method is a two-bath system for rapidly producing color photographs on resin-coated enlarging papers.

Once, only the faint clickity-chirp of near-silent shutters and the whoosh of rapid-return mirrors filled our ears when a photograph was made. But then came progress: autoload, autowind, autorewind, autofocus. And with this progress came the most dreadful cacophony of zips, whirs, and whines.

Yes, France has been done before Go do it again. And again. It'll never wear out.

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Dan Richards

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Writing a travel column about France is like writing an article telling people why champagne is good. The people who know don't need to be told; the people who don’t know are pretty much beyond hope. So, we assume certain things: 1) You can figure out how to get there.

Popular Photography's information exchange where readers help readers solve problems

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Easel on the Skids? Then Get Rugged

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Oh, No! Not Another Film Can Idea!

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Band Together For Manual Focus

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These Boots Are Made For Shootin'

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Negative Attitude? Just Let It Slide

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Get a Grip on Long Exposures

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Darkroom workers know how annoying those sliding enlarging easels are-just as you get the composition perfect. you open the easel or bump it slightly and it slips out of position. The little rubber stick-on feet that come with many easels aren't much help-they're often the size of microdots and wear out in no time.

The creative possibilities are endless when you team up the Nikon SB-24 Speedlight with a Nikon autofocus SLR

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Theme and Variations: Flattering portraiture is a cinch when you use the Nikon SB-24 Speedlight on a Nikon AF SLR. The SB24 automatically provides just enough flash to add detail to the harsh shadows often created by existing light. It eliminates the time-consuming calculation that used to plague fill-flash technique—and cost the subject's spontaneity.

If there’s one way to instantly improve the way you present your slides, it’s to use two projectors connected to a dissolve control. Now, instead of having a momentary pause as the slides change, you can fade one image out as the other fades in, creating a pleasing flow of images called a dissolve.

I have just read your “Scenic Issue" [August '91, page 45], and I thought that the article and photos were super. Perhaps my enthusiasm was aroused because landscape photography is my favorite. I subscribe to National Geographic magazine and have noticed for many years all of the splendid landscape and travel photos in each issue.

No sooner did the Iron Curtain fall than the flow of silver-based photographic products from East to West began. Among the first to appear on these shores was a full line of black-and-white enlarging papers from Hungary callei Forte. Manufactured for over 70 years, these enlarging papers are being marketed in the U.S. for the first time in several resincoated and fiber-based formats (single and double weight, glossy, semigloss, arid matte) and in several sizes (standard cutsheet sizes, from 5 X 7 to 20 x 24 inches).

Think we had to wait for the computer to fudge photographic images? Nonsense!! We’ve been doing it since 1840.

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Arthur Goldsmith

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Have computers that electronically manipulate photographic images knocked the props out of photography’s veracity? Is our once faithful eyewitness never again to be trusted? Can we no longer believe what we sec in a picture? A rash of recent media reports has raised such disturbing issues and cast doubts about photography's realism, objectivity, and reliability in a new era of electronic imaging.

● Have you ever passed by the refrigerated film section of a large, well-stocked camera store and noticed color film boxes with strange, exotic names like Ektapress, Velvia. Optima, and Vericolor? All of these, and others with more familiar names such as Kodachrome Professional and Fujichrome Professional, are the so-called professional films.

The only thing these “ideal format” cameras have in common is film size, so choose with care!!

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PENTAX 67

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FUJI GW-670 II

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MAMIYA RZB7

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BRONICA GS-1

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Arthur Kramer

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Is 6 x 7 cm really the ideal format? When it was reintroduced in modern form in the Omega 120 in 1948, the 2½ x 2¼-inch (or 6 x 7-cm) format was hailed as the panacea to negative and paper waste as well as the means to a dramatic increase in quality over the 2½ x 2¼ (or 6 x 6-cm) format.

Think your pictures have to be in focus and well exposed to be good? Jim Paradise proves that overexposed and blurry can be beautiful, too!

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How to montage

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Pete Kolonia

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When challenged to defend his favorite type of photography, slide sandwiching, as anything more than a photo gimmick, Jim Paradise of N. Bellmore, NY, flatly declares that slide montaging is an effective way to turn ordinary slides into extraordinary images. If that’s a gimmick, so be it.

You've probably become so tired of the same old stodgy photographic cards each year that Hallmark looks like Rembrandt to you. Snap to. You can make a personal statement, a creative, unique, and memorable one, by using your photos and some imaginative graphics.

In the beginning, you will need light. Not a great deal of light, but enough to insure that your images have good resolution and color. The effect of low light on videotape is not the same as low light on film. Still pictures shot in poor light come out looking murky; but video pictures are not only murky, they are also "snowy" (with grainy flecks of color) and have lifeless, almost nonexistent, color.

What comes to mind when you think of a photojournalist? Audacity, savvy, dogged persistence, and dedication? While a kernel of truth may exist in that Hollywood-fueled notion of photojournalism. the nit and grit of shooting for publication is something different. It’s that real-world occupation which Ken Kobre describes in this second, revised edition of his surprisingly thorough how-to that elucidates an entire career.

Safe storage is a concern of many readers, who are aware that polyvinyl chloride (PVC) is a chemically unstable plastic that can emit hydrochloric acid as it deteriorates. with harmful consequences to slides, negatives, and prints stored in enclosures made of it.